To the Pliocene Skull

By Bret Harte (Francis)

    “Speak, O man, less recent! Fragmentary fossil!     Primal pioneer of pliocene formation,     Hid in lowest drifts below the earliest stratum     Of volcanic tufa!     “Older than the beasts, the oldest Palaeotherium;     Older than the trees, the oldest Cryptogami;     Older than the hills, those infantile eruptions     Of earth’s epidermis!     “Eo Mio Plio whatsoe’er the ‘cene’ was     That those vacant sockets filled with awe and wonder,     Whether shores Devonian or Silurian beaches,     Tell us thy strange story!     “Or has the professor slightly antedated     By some thousand years thy advent on this planet,     Giving thee an air that’s somewhat better fitted     For cold-blooded creatures?     “Wert thou true spectator of that mighty forest     When above thy head the stately Sigillaria     Reared its columned trunks in that remote and distant     Carboniferous epoch?     “Tell us of that scene, the dim and watery woodland,     Songless, silent, hushed, with never bird or insect,     Veiled with spreading fronds and screened with tall club mosses,     Lycopodiacea,     “When beside thee walked the solemn Plesiosaurus,     And around thee crept the festive Ichthyosaurus,     While from time to time above thee flew and circled     Cheerful Pterodactyls.     “Tell us of thy food, those half-marine refections,     Crinoids on the shell and Brachipods au naturel,     Cuttlefish to which the pieuvre of Victor Hugo     Seems a periwinkle.     “Speak, thou awful vestige of the earth’s creation,     Solitary fragment of remains organic!     Tell the wondrous secret of thy past existence,     Speak! thou oldest primate!”     Even as I gazed, a thrill of the maxilla,     And a lateral movement of the condyloid process,     With post-pliocene sounds of healthy mastication,     Ground the teeth together.     And from that imperfect dental exhibition,     Stained with express juices of the weed nicotian,     Came these hollow accents, blent with softer murmurs     Of expectoration:     “Which my name is Bowers, and my crust was busted     Falling down a shaft in Calaveras County;     But I’d take it kindly if you’d send the pieces     Home to old Missouri!”

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Poem Details

Language: English
Keywords: Public Domain
Source: Public Domain Collection
Rights/Permissions: Public Domain

Analysis & Notes:
This poem is a masterful exercise in interweaving scientific and colloquial discourse, blurring the lines between the formal and the informal, the scientific and the personal. The speaker's use of formal, antiquated language, reminiscent of a bygone era, creates a sense of timelessness, underscoring the poem's focus on the primordial and the ancient. The structure, with its consistent four-line stanzas and irregular rhyme scheme, adds to the sense of antiquity, while the speaker's voice, both confident and uncertain, oscillates between the scientific and the personal. The tonal shift that occurs midway through the poem, as the speaker's voice becomes more conversational and self-referential, serves to highlight the tension between the formal, scientific language and the speaker's own, more intimate voice. This shift is reinforced by the introduction of the speaker's name, Bowers, and his personal story, which serves to ground the poem in the present and make the scientific discourse more relatable. A precise observation is that the speaker's use of scientific terminology, such as Pliocene formation and Condyloid process, serves to underscore the tension between the formal, scientific language and the speaker's own, more humble, origins.

Understanding Limerick

A limerick is a five-line poem known for its jaunty rhythm, playful tone, and a punchline twist. It’s built for humor—often sly, sometimes downright silly.


Common characteristics of limericks:

  • Five Lines & Rhyme: The standard scheme is AABBA—the first, second, and fifth lines rhyme; the shorter third and fourth lines rhyme with each other.
  • Bouncy Meter: Typically anapestic (two short, one long beat). Lines 1, 2, and 5 are longer; lines 3 and 4 are shorter.
  • Tone & Humor: Lighthearted, mischievous, and built around a final gag or reversal.
  • Subject & Setup: Often starts with “There once was a … from …,” setting place and character before the comic turn.
  • Sound Play: Internal rhyme, alliteration, and rhythmic snap heighten the joke’s delivery.

The best limericks land like a good toast: quick, musical, and clinched by a memorable last line.